ABOUT THIS PIECE
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KAMAITACHI ABOUT THIS PIECE Kamaitachi are a type of yokai that are embodiments of the wind. In lore, they are characterized by attacking travelers leaving them with a distinct characteristic of sharp pains but no wounds to show for it. This piece is inspired by the Hida Province interpretation. Kamaitachi attack in a trio: the first uses large gusts of wind to knock down the traveler, the second attacks with sharp blades, and the third heals the wounds. The piece translates the Hida interpretation through the three naname players, each embodying a characteristic in play style, performance, and kata. Solos are also a unique way in which these unique characteristics may be displayed. Conceptually, Kamaitachi aims to create a poly-percussive piece where each instrument has an individual part and may be played by itself and in harmony with each other. In doing so, there will be points in between Naname and Beta where there is no overlap, akin to what instruments in an orchestral setting may encounter. Due to this flexibility, Kamaitachi becomes a very malleable song and can be played in many formats for a variety of performance settings, in a bare bones performance it can be performed with as little as the 3-naname and 1-shimedaiko. Kamaitachi’s original performance was by UC San Diego’s Asayake Taiko in their 2014 Spring Concert titled: Asayake Taiko and the Chamber of Secrets. INSTRUMENTATION A Full Performance Set includes 10 performers: 3 - Naname/Slant 3 - Betta/Flat should ideally be differently pitched than naname
Transcript of ABOUT THIS PIECE
KAMAITACHI
ABOUT THIS PIECE
Kamaitachi are a type of yokai that are embodiments of the wind. In lore,they are characterized by attacking travelers leaving them with a distinctcharacteristic of sharp pains but no wounds to show for it. This piece isinspired by the Hida Province interpretation. Kamaitachi attack in a trio:the first uses large gusts of wind to knock down the traveler, the secondattacks with sharp blades, and the third heals the wounds. The piecetranslates the Hida interpretation through the three naname players, eachembodying a characteristic in play style, performance, and kata. Solos arealso a unique way in which these unique characteristics may bedisplayed.
Conceptually, Kamaitachi aims to create a poly-percussive piece where eachinstrument has an individual part and may be played by itself and in harmonywith each other. In doing so, there will be points in between Naname and Betawhere there is no overlap, akin to what instruments in an orchestral setting mayencounter. Due to this flexibility, Kamaitachi becomes a very malleable songand can be played in many formats for a variety of performance settings, in abare bones performance it can be performed with as little as the 3-naname and1-shimedaiko.
Kamaitachi’s original performance was by UC San Diego’s Asayake Taiko intheir 2014 Spring Concert titled: Asayake Taiko and the Chamber of Secrets.
INSTRUMENTATION
A Full Performance Set includes 10 performers:
3 - Naname/Slant
3 - Betta/Flat should ideally be differently pitched than naname
2 - Shime (1 shime is just fine too provided the shime is high enough in pitch)
2 - Narimono players
- Percussion 1: Atarigane, Bin Zasara
- Percussion 2: Clave/Hyoshigi
PERFORMANCE NOTES
Energy and Body movement make up the two core concepts within theperformance. There are points within the piece that demand both sharp andflowing movements with both contained and raw energy. Strong intent andbody language coupled with precise kata will draw out the piece’s full potential.
Look at moments marked with Piano/Pianissimo as I have found that there is atendency to miss these critical moments when in a performance setting and theperformers may be fatigued or playing at too fast a tempo where delicateness isdifficult to maintain.
TONE
Mischievous. Raw.
The player is assuming the role of a kamaitachi aimed at attacking those whocross their path. There is no intent to kill or severely injure their enemies butperhaps rough them up a bit. There is a seriousness to the piece.
SOLOS
Solos should be approached from the perspective of each soloist assuming adifferent role from lore that Kamaitachi is derived from.
“Kamaitachi attack in a trio: the first uses large gusts
of wind to knock down the traveler, the second attacks
with sharp blades, and the third heals the wounds.”
I have interpreted this as such:
Soloist 1 - Embody wind through large movements and strong, focused hits.
Soloist 2 - Sharp, direct, and fast melodies with sword like movements tocontrast the first soloist. Embodying sharp blades
Soloist 3 - Flowing and graceful. Yet still with an intent of mischief or malice(depending on your interpretation of the text).
My intent was to create a frame for which a soloist can expand on one idea andcreate a unique interpretation of what the piece means to them as well asproviding originality between the solos. The solos should never sound or feelthe same!
INCORPORATING AN OPTIONAL BETTA SOLO
If incorporating a better solo, it should follow the naname soloist. This soloshould only be played if there are 2 or more betta and should be performed as anensemble solo (no individual solos - this will make the solo section too long).This solo should aim to incorporate themes and movements found in theprevious three soloists. One can think of this as all three Kamaitachi attackingtogether at the same time.
SCORE
The score includes a conductor’s score for all parts as well as individual scoresfor each instrument. Ensemble and individual recordings are provided at both100% and 75% speeds to help facilitate learning.
The score denotes that there are 3 solos, 1 each for the naname drums,additionally there can be a trio solo for betta following the three naname. If thisis the case, the solo will have the same structure as the 3 preceding it.
In the digital recordings, there are only two solos being played
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